JSngry

Let me put it this way - if your Gene Ammons car doesn't take a nice healthy drive through this neighborhood, then why the hell are you driving that car to begin with, just play the video game instead. fuck jazz. let my children hear music. more importantly, let my children MAKE music, and let them make music that is straight from who they are, what they know, what they are leaning to know, who they are, who they are becoming, and who they will refuse to become. Let them make the music that is how they, all of them, know to be life. long live soul. I'll believe that when we see the Billy Eckstine MGM/Emarcy Mosaic - and then when it is embraced by the "jazz" audience.

I'm not...

Credit for influence, yes, huge. Credit for innovation, not so much.

No. I am saying this - look at who the audience for "soul jazz" was, and then look at who is writing the "jazz histories, then and now. The elephant in the room is that the music in question was created by and for a demographic, and with with a motivation that "historians" can at best only objectively (re)construct. To use the most usually cited example - who was Gene Ammons playing for, and how did that line up with any of the critical/historian's views of what "jazz" was "about"? Art, revolution? Sophistication? No, Gene Ammons was just playing everyday life as he and his audience - they - lived it. Not something most critics look for in jazz, although they love it in country (if the care for country). It's one more example of cultural blindness. A lot of assumptions and projections. Lots of agendas and plays for ownership, especially once there's the past involved, yeah, now EVERYBODY loves "soul jazz", now let's start making that money. bingo

Same on the Taylors. That was a golden run.

Elephant in the room...

VH1 didn't play metal either.

I really dug that guitar section thing with Earl Spencer. Definitely increased my appetite for the Mosaic B&W set.

oh my...

Dude, the guy's been to NYC five times in the last three years and it's made him love the team even more. You can't argue with the rationality of that.

Got this email the other day: Our founder and executive/artistic director, Ashley Capps, sent an email to his personal list of friends, colleagues, and peers. We asked if we could share it with you, and he agreed: “Now is the time to experiment, and there is no choice but to experiment.” — Gustavo Dudamel, Los Angeles Philharmonic “It’s time to move on, time to get going …” — Tom Petty Dear Friends, You can’t always wait. This pandemic has had a devastating impact on live music and the performing arts. It has decimated the livelihoods of musicians and other artists, the teams that support them, and the organizations and venues that make their performances possible. We all long for the return of live events, but we can’t just sit around and wait until they do. I'm with Gustavo Dudamel and Tom Petty… challenging times call for creative responses and new ideas. At the Big Ears Festival, we're going online to embrace the world of streaming and the unique opportunities it can offer in bringing artists and audiences together. Our goal is not to simply stream concerts. We’re striving to create a different type of experience. THIS FRIDAY at 8pm (edt), we’ll put you at the very heart of one of the finest jazz bands of our time, The Bad Plus. You’ll be on stage with the band, soaking in the historic vibes of the 110-year old Bijou Theatre, in the very midst of the play and interaction between these astonishing musicians. Known for their fresh covers of tunes by Nirvana, David Bowie, Radiohead, and Tears for Fears along with their own instantly memorable compositions, The Bad Plus offer a master class in the art of making music. On Friday, October 16, we'll take you into the mysterious “keyhole” rock quarry at Ijams Nature Center, where guitarist Mike Baggetta weaves a musical spell, amidst nature and the ruins, with his band mates in mssv — legendary rock bassist Mike Watt (The Minutemen, Iggy & the Stooges) and drummer Stephen Hodges (Tom Waits, Mavis Staples) — beamed in from somewhere in the ether. Post-punk, post-rock, post-genre instrumental virtuosity defines mssv, who are celebrating their new record release, Main Steam Stop Valve, with this one-of-a-kind musical experience. Then, on Friday, October 23, we’ll transport you to the rooftop of St. Ann’s Warehouse in Brooklyn, NY, where guitar legend Marc Ribot and his band, Ceramic Dog (with Shahzad Ismaily and Ches Smith), perform their first concert together since the virus struck — also on the occasion of their new recording made during quarantine, What I Did On My Long Vacation, which was released on October 2. In Ceramic Dog fashion, they’ll offer a wild, exuberant, and majestic performance with the mighty Brooklyn Bridge and the New York skyline serving as their stage set. Transcendent performances by visionary artists, experienced from new perspectives and captured in iconic and sometimes unexpected settings — that’s what we have in mind with Sites and Sounds from Big Ears. There’s more to come … All proceeds from these programs go to support the artists, the Big Ears Festival, and our network of partners and collaborators. If you can’t make the initial streaming at 8pm (EDT) on Friday night, each program is replayed throughout the weekend, until Sunday night at midnight — though tickets must be purchased before the initial program stream concludes. Details on all shows and how to purchase tickets are available below — and at www.bigearsfestival.org I hope you’ll join us in this new adventure. As Tom Petty sings, “What lies ahead I have no way of knowing …” but you can help us in shaping the future and building things back. Who knows where this might lead? And if YOU have any thoughts or ideas to share, we would love to hear them. We’re all in this together. Wishing each of you the very best, Ashley Capps Executive/Artistic Director, Big Ears Festival THE BAD PLUS Friday, October 9 | 8pm (edt) THIS FRIDAY at 8pm, The Bad Plus — Reid Anderson, Orrin Evans, Dave King — will perform their first concert since the lockdown from the Bijou. Tickets for The Bad Plus stream from Big Ears and the Bijou are available HERE mssv (MIKE BAGGETTA, STEPHEN HODGES, MIKE WATT) Friday, October 16 | 8pm (edt) Tickets for the mssv stream from Big Ears are available HERE MARC RIBOT'S CERAMIC DOG Friday, October 23 | 8pm (edt) Tickets for the Ceramic Dog stream from St. Ann’s Warehouse and Big Ears are available HERE

96? Damn, Whitney wore his ass down.

https://en.wikipedia.org/wiki/Tablature Not caused by Eddie Van Halen! Another "rock truth".

He did not invent " hammering" or any of that stuff. That's another one of those ' rock truths" that soothe the uncurious into suckerdom. Damn good player Don't get me wrong, and full credit for bringing the techniques to an idiom that really benefited from an exaggerated of approach, this isn't about that. But these techniques have been around for string instruments long before any of us were born.

Joan Baez had the radio hit, and as always, the results were indeed dire,

https://youtu.be/bYUrc2gapf0

I would have hoped that Catherine O'Hara and schitt's Creek would have generated some sort of SCTV resurgence revival whatever but apparently not too bad ,unadulterated brilliance from start to finish

"standard" really means nothing more than " more people are likely to already know it", and that's more about the audience than it is the music, including musicians. But where is the line between playing a tune that a lot of musicians like to play and a tune that a lot of people want to hear other people play? Also, when does a standard become a cliche? Are you asking do I want to hear cliches? It's silly. I just want to hear music that doesn't make me want to skip it, that's all. Substance, please. Then style, but only then.

All "standards" were at one point originals. Truthfully, if you put "Blue Bossa" next to "I Believe In You", my hunch is that you will get an exponentially higher recognition of the former than the latter, yet "I Believe In You" would never be classified as an "original". It's a "show tune" which in the limited vocabulary of musical discourse today should qualify it as a "standard". "Blue Bossa", yes, that's an original composition, composed by a jazz musician as a vehicle for improvisation. It's only a "standard" within the limited audience of jazz familiarity. The differentiation is meaningless, really, as is the discussion. Pretty much any [piece of music that is not otherwise created is an "original". And something is only a "standard" with the boundaries of the audience at any given time. So really, just bring good muic. Good forms, good designs, good ideas well presented with sincerity, insight, and integrity. That's ultimately all that matters.

Square business , check out post Mahavishnu Jan Hammer and listen for similarities to Van Halen's playing. There might be more than you expect.

Comin' Home Baby is a BenTucker original.

I don't give a damn, really. Just make it good. That's the only "standard" in which I am interested.